André Cadere became well known in the 1970s with his “barres de bois rond” – round painted wood bars of varying sizes – which were minimalist art objects as well as instruments of artistic intervention. Handmade by the artist, the bars were composed of painted cylindrical segments, whose height corresponded to their radius. The individual units were assembled following a mathematical system of permutation whose logical sequence was disturbed by one error respectively.
Cadere referred to his wood bars as “peinture sans fin” – “unlimited painting” – which redefined the boundaries of the medium and broke with traditional ways of seeing. The form of the rod does not prescribe a privileged point of view – it has no front nor back, no bottom nor top – but offers itself to multiple presentations instead: The bars can be laid out on the floor, fixed to the wall or can lean against it; they can also, theoretically, be moved from one place to another.
The aspect of mobility plays an important role in Cadere’s conceptual approach: In his “promenades-performances”, the artist walked – bar in hand – through the urban context, “occupying” with it public spaces (such as the street, the subway or a restaurant) and thus demonstrating the relative independence in the presentation of his art from the institutional context. At the same time, Cadere attended – whether invited or not – openings of gallery and museum exhibitions (such as, for instance, in 1972 documenta 5), in order to present his wood bars and get the public involved in discussions about his work.
terça-feira, 10 de maio de 2011
André Cadere: Peinture sans fin”
Postado por Tania Alice às 10:18